Among the many artists who showcased their works at the 2023 edition of Art Basel, there was one that caught my eye: Lee Jin-woo.
Lee is a Contemporary Korean Artist based in Paris. Born in Seoul in 1959 and the son of an architect, Lee graduated from Seoul’s Sejong University with a major in Fine Arts in 1983. Following this, Lee shared, “I went to study abroad in France,” completing a course in Art Materials at École nationale supérieure des Beaux-Arts (translation: the National School of Fine Arts), in beautiful Paris. Lee further continued with his artistic studies and eventually graduated from The Paris Eighth University of Art having obtained a Master’s degree in Sculpture and Fine Arts.
Since Lee’s first solo exhibition in 1986, he has consistently participated in group exhibitions as well as holding solo exhibitions at various locations across Asia and Europe. Lee has been invited to display his pieces at Seoul’s KIAF Art Fair repeatedly since 2009. However, as to how his career has evolved, Lee feels that the progression is “not so much about specific details [in my work] but rather the expansion of my activities and the realisation of more exhibition projects” over time. Talking of his dreams and future aspirations, Lee shared his hopes are those which he feels to be common aspirations for many artists: to organise an “exhibition at an art museum that can showcase all the works I have created over the years.”
The studio from which Lee creates his masterpieces is located in Paris, at a space that was previously used as a woodworking [work]shop. Lee creates his pieces on Hanji paper fixed on linen, using wood charcoal as a medium to create pieces with a monochromatic and volcanic appearance. His works are not so easily defined and exist somewhere between paintings and sculptures. The carbon you observe in his work, an example of which is pictured left, is compacted by the build up of transparent layers, which Lee achieves through the forceful and repetitive process which creates “rough and steep reliefs – interior landscapes of a sort.”
Whilst the works that the above produces seem to possess a sense of simplicity, the reality that this is earned as a result of a long, challenging, and repetitive process which Lee describes as being “physically and mentally exhausting.” It is “honest work” which he conducts in silence. This silence acts as a “conduit of meditation and development”, through which Lee is able to incorporate and element of spirituality to the process, and by extension, into his works. This is his own “personal alchemy” and his philosophy of life. Strenuous work allows Lee to express through art something that exists within him yet remains separate from any intervention that may come from his mind. His works invite their audience to feel a sense of calm that matches the silence that existed at the time of their creation. He seeks to allow people to contemplate, and “approach our inner ‘I’.”
“I believe that all the historical figures and people around me have impacted me in some way,” Lee said. However, he added that “it is difficult to attribute my influence to one specific individual.” That being said, Lee does draw influence from the ‘Dansaekhwa’ movement that developed within Korea during the 1970’s.
Taking its name from the term for monochrome palette, the movement seeks to connect audiences with spiritual principles of Taoism, Confuciansm and Buddhism. The characteristics of this artist movement, Lee explained, saw a breaking away from artistic heritage and initiated an “exploration into the physical limitations of art’s materiality”. Lee shared with me his thoughts on the movement from the perspective of someone who has worked away from Korea, and his belief that those Korean artists “pursued their own individual characteristics” and “discovered commonalities. These artists,” Lee added, “worked in their own distinct styles for a long time, have inner, spiritual, and physical expressions that differ from one another.”
Their legacy is a “recognition of a shared element” and something “that resonates with anyone who is Korean”, Lee said, adding that this element has come to recognised as “uniquely Korean” on the world stage. Lee, being part of the next generation of artists to the Dansaekhwa movement, honours it by drawing parrallels to it in his own unique way, stating: I consider continuous perseverance as the only way to preserve a legacy.”
The best advice Lee has received during the course of his career has been: “Jin-woo, do not leave your studio.” Lee describes this as “affectionate advice” which has resonated with him deeply to this day. It came about during a conversation “with Professor Abraham Pincas after my last class at the National School of Fine Arts in Paris” (circa 1989)”. Talking of the approach he adopts when facing creative blocks, Lee replied simply that “when the work becomes too challenging, I give my body some rest. I can continue when my body feels more comfortable.”
“For me, novelty is the continuous extension of the work that has been progressing up until today. Because of this, my daily work never stops flowing, like a river in which new water always flows. It constantly connects to new works.” – Lee Jinwoo
Our interview then meandered over to examples of his art he feels pride at having created. The award for his favourite piece of art Lee amongst his creations goes to his major work titled “Deep Forest”. Talking of this piece, Lee shared that he created this particular work in the late 1990’s during a “difficult and challenging period in my life, just as the title suggests. While most of my works are presented without titles, a few have specific names.”
There have been a wide range of reactions to his artwork. Lee recalled how he has observed audiences “standing in front of my artwork shedding tears,” and has heard “their heartfelt stories of reflecting on the past.” Lee thoughtfully shared with me some of his life experiences “which have left a lasting impression” on him. The first came in 2003 when Lee held a solo exhibition in Paris. Lee shared that a young man had “gathered ten months of his own salary to purchase one of my small pieces for his first art collection.”
The second came in 2006. This time around Lee’s work was being displayed at another solo exhibition, held at the Manes Gallery in Prague. Lee recalled how a a student from an art university had saved money over several years to purchase one “of my artworks. He cried as he presented me with a rose.”
Sharing with me how these reactions impact him, Lee shared that he regards “the praise they give not as praise directed towards myself, but rather as compliments for their own appreciation.”
Finally, Lee shared with me a bit about what he considers to be the “destiny of an artist. The present moment,” Lee wrote, “is always more challenging than the past. Given the nature of my work, which requires strength, it is likely that as I age, my current and future periods will become even more demanding. I hope that the ongoing actions of my work as an artist, which have been carried out consistently [over many years], would provide strength to those who observe them. I wish that they be conveyed with emotional energy to the lacking and vulnerable aspects of each individual.
Those interested in Lee’s artwork can follow him here
Lee’s advice to artists who are just starting out: I would like to share the advice given to me by Professor Abraham Pincas. Artists should stay in their studios. By being present in the studio, whether working or not, they can experience a gradual sense of completion and achieve creative results through continuous work.
Translated by Timothy Holm of the KBCE (tim@kbce.org.uk).